Category Archives: Photography

Dreamcatcher, Inspired Eye, Photography, Street Photography

November16th, 2017 … A Casual Walk With My Intent … or Gone Fishing

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Like any serious photographer, I have my moments of discontent. What I mean is that the photos I’m making are ok for me to continue but not the celebrated ones we hope will shine. I wrote about this a few post back. Flashback to around 1973.

I’m sitting on the bank of a creek and fishing with Bill, my father in law and Bob his brother and my 2 brother in laws Dan & Billy. I have all the good stuff. Fenwick ultra lite rod, Penn reel and all the lures and things to make Opening Day of Trout Fishing a great experience. I had my Leica M4 and 35mm Cron in my vest pocket. I will not talk about the financial investment in this undertaking. We are fishing our own styles and I caught a few small ones and put them back in the water.  I said to Bob, what the hecks going on? All these people fishing and not many fish being caught. Bob was laid back against a tree stump like it was an expensive leather chair.

Donald, he said, 90% of the fish are caught by 10% of the fisherman. 10% of the fish are caught by 90% of the fisherman. I almost stopped breathing. I had an epihany, and it proved Bob right. Oh my I thought. Why am I doing this? Bob said, Donald….I come out here to relax. I love the fresh air, the water all the nuts like you trying to catch fish.  I said your fishing. He reeled his line in and there was just a sinker, no hook, no bait. He’s calling me nuts right.

Bob said. look, it’s very relaxing right now. No kids, no wife, no work just you bugging me, he smiled. I asked him, why no hook or anything? Donald, if I have a hook, then I need bait. Then the hook gets snagged on something so I need to start over. What happens if I catch a fish? I gotta deal with that and …it’s good fishing but it damn sure ain’t relaxing.

Making photos for me is like fishing. I love to catch the big fish but I won’t rule out the ones that are not keepers. I LIVE photography. I love every single aspect of it. If I was to just go for those great shots, what about the energy that goes into that. I mean if you picked up your camera and every time made your masterpiece, well, they wouldn’t be. The inverse square law dictates that in order to survive as a photographer, you need to take the good with the bad and love all equallly.

The ones you feel are not keepers, if you don’t love them you will not learn from them and probably not find the great shots you are capable of. Not every shot is a benchmarm, nor do they need to be. I go out on the streets and I am relaxed. I’m breathing, listening, seeing and processing in my heart abd mind photos I seek to find. You can do things the way you want but trust me, if you slack off because your not getting the work you rhink you want or need, you better open your eye, heart and mind cause your making a mistake.

I’m not saying to get complacent, just saying there’s a lot of fish in the waters. For me, I;m very relaxed and content just being alive with my camera.

….shooter out………………..

Photography, Street Photography, Streetshooter

November 14th, 2017 … … 40 Minutes in NYC … and In Nam … With Roger

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First Meeting

It’s Sunday afternoon around around 3:00pm, or 1500 if you like. The phone rings and Roger says, I need … and he gives me a list of cameras to bring to him in NYC. OK, I forgot, youse don’t know Roger. I’m 13yo in Junior High School and as I walk past the store on Old York Rd, I see 2 kids tormenting a another kid. I don’t know the kids getting his butt kicked but I do know the 2 assailants. So I walk over and say to the 2 kids, what’s up? Mind your business Springer. Quickly I said, (now just cause ya know kids don’t mean they won’t jump ya and kick ass)….So I said, it is my business, he’s my cousin. They looked at me, ok….  They stop and tell the kid, your lucky. They leave and I’m now with this kid that’s a real nerd. He’s tall and over weight and just the kind of kid bullies like to mess with. The kid says, thanks Don. Hmmm, I don’t know him but he knows my name. So I ask him his name and he replies, Roger ….? He hugs me and thanks me.

We walk towards my house and it turns out he lives around the corner from me. We become friends. Y E A RS P A S S………. The war in Viet Nam is brewing and I don’t know what the hell it even is. I get my draft notice. Mom cries. Aunt Ann wants to send me to a safe house in Canada. I tell Roger I was /drafted. He says, yeah, I know.’m going with ya. I say WHAT! Roger says, where’s Vietnam? Who’s fighting there? I answer in my most intellectual manner, dunno?

So…I say, Roger, what did you do? I told dad I wanted to ge with you. I get this chill up and down my back. How did you do this and why? Roger says, dad made a few calls and we are going to be together the whole time. Why, I ask. Look stupid, you don’t know what Vietnam is. Ya don’t know about anything. I’m going to make sure your ok and come home. I felt some kinda way about this and remember, Roger got his ass kicked more than a few times. How’s this guy gonna protect me? See, I never knew Roger’s family was very very wealthy. That’s how his dad got this done. I learned that this was the reason Roger got in fights all the time.

 

Vietnam Payback

115F and must wear  the helmet. We are going thru Chu Lai Village and we never know if it’s hot or not. So we assume it’s hot. Coming out thru the North Side, all 15 of us are feeling kinda safe and most light up a sally. Sally is a Joint that you soak in Liquid Opium and then dry it and smoke it. It’s called a Sally Joint. Oh yeah, I smoked that baby but never inhaled. we get to a clearing and kinda going slow. No small arms fire but all the sudden, out of nowhere…. that whistle sound and then…the sounds of Hell coming up to catch you. The Mortars are coming down quickly. The thing about mortars is that they are mathematical in use. So the tube can be adjusted to get very accurate as to target acquisition. Scary shit man, no joke.

Anyway, we are running to tray to break the rhythm and pattern of the rounds raining on us…….Then….the earth shook, my ears went numb for don’t know how long but, I had this ringing sound in my ears and head and a very loud numbing sound of silence. I’m dizzy and can’t hear and my eyes ayr covered in dirt and I fall to the ground. I try to look around between the rounds falling and I see someones leg in front of me and I just knew this is where I shall be for eternity. I lay still and close my eyes and pray that The LORD ends this Hell fast.

Well, in less then a minute, I feel someone grabbing my legs and pulling me. I can’t move or see who and all[ the sudden, I thought I was captured. I pissed my pants at some point but don’t remember when. Then this person tries to roll me over and I can’t do nothing. I expected to see a VC with an AK47 pointing at me and then as I look up, Roger is pouring water on my face and rinsing my eyes and putting water in my ears and mouth. He bends down and checks my body for blood and holes. I’m still in some kind of shock. Roger is talking to me but I can’t understand a word. He picks me up and carries me to the chopper and puts me on and the n he gets on. We get extracted and there’s no fire after us. I now can start to hear the blades of the chopper. There’s a medic and he spends a minute checking me and looks at me and gives me a thumbs up. Roger is sitting next to the door gunner and in a way I didn’t understand, protecting me with his M16.

 

When the phone rang and I hears Roger’s voice, I knew he needed something. See, him and Mary are traveling all over the world. He’s a International Copyright Attorney.

So I get this list of things he needs as he’s in NYC for 3 days. I go to his home and go into the walk in safe and get the cameras. It’s about 2 hours from Philly to NYC and no traffic and I get there on time. Mary gives me a hug and the Rog says, thanks again, your my hero as always.

When we were 13yo, I stopped a few bullies and then, in Nam, this nerdy overweight kid I helped way back then…. comes to my rescue, carries me out of harms way, gets me to the chopper and saves my eyes, my hearing and my life, and I’m his hero!

What goes around, comes around….better believe that!

Philosophy of Street, Photography, Street, Street Photography

October 8th, 2017 … Measure Yourself Against The World … Thoughts On My 68th B’Day

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There comes a time when we need to sit and look at our work and try to see where we were, were we are and where we think we are heading. I figured this time, at my 68th birthday was a good time for personal re-evaluation. See, we ALL need to do this because we need to check our stuff so the map of our life going forward has some light on it.

We spend time looking at other shooters photos. A good thing to a degree. We spend time reading books and even studying the masters and famous photographer’s. We watch movies about these people and movies about exhibitions. We go to galleries and museums and get close to original images we admire.

So this is an ongoing romance with everyone and everything but ourselves. We feel inspired by all the works we see and feel from everyone….. wait a second here, I ain’t no coward and I ain’t no dummy. What I mean is, after a time of indulgence in others and their work, is it possible that we do that so we avoid confronting our own work?

See, it’s easy to avoid the truth of one’s self. Oh, it’s easy to lie to yourself but to confront and accept the truth, no way. It’s ok as we all have these issues. Well, I see it this way. Ya know how when ya go and buy a new shirt, that you really like? Then ya wear it and don’t get many nice remarks and ya feel your feelings are hurt? (this does not apply to woman. See, if a woman gets a blouse and even if it’s the blouse from hell, when her man or her woman sees it, it’s gotta be the most beautiful blouse in recorded history. If not, Hell hath no fury…. ya know the rest)

Well, some of the photos you make and not all by any means, are your feelings and thoughts and vision. Others see them and decide for themselves the value of them and how they individually relate to your work and you. This is a very delicate situation. It’s a delicate way because, the viewer may or may not want to comment. If they do, will they post the true feelings and be honest ot just post what they think you want or need to hear.

So we need to be honest with ourselves. This is very hard to do and although it must be done on a regular basis, we probably will find it easier to avoid this. I do for sure. Man, I’ll go out with my camera and shoot and make photos and just be in a state that satisfies me on levels not much else comes close to. Then when I start to process some will come to life and I fall in deeper love. I realize that I am trying to use the photo as a catalyst for my thoughts and emotions.

The hardest part is to abandon the ego. To just accept yourself as a human with a camera and to love what that means. It ain’t about how others see and think of you. It ain’t about how anyone sees and thinks about your work. It’s about truth. The truth that you are your life and your work. To stand strong and be accountable for what and why you do photography.

This approach does not negate the responsibility that we all must assume and utilize for others. It’s just that being in the moment is one thing. I am certainly an advocate for the Eye, Heart and Mind.

When you see the above photos, your seeing me. I stand for them and they stand for me. I feel them and they give me reason to continue.  Some will think that there’s little value to these photos or in fact any I ever made or will make. That’ a fine response. We all hae opinions and I respect all.

At 68 today, these photos are me standing nude in front of you minus my pecker and that ain’t no big deal anymore….

Be blessed my friends…………………

Philosophy of Street, Photography, Street Photography, Streetshooter

August 13th, 2017 … Memory or The Decisive Moment … Cont’d

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Ya know, I gotta tellya’s…. it’s summer time here in Philly and my brain is on vacation. So maybe I am writing about memory for a reason. The thing that I get from photography is the realization that I love the process and I need the catalyst that photos present. Pete and Andrey wrote some very profound comments on my last post and I urge toy to read them. You don’t have to comment but you should read them. I am basically a streetshooter. I used to do other things but for the last 30+ years, mostly street. For me, street = life. So as a life shooter, what is it I am after? I kinda think that it filters down to a residue of intent.

When I’m out shooting, I am not thinking about memories,. Sometimes but not a priority. So, I make photos with the purpose of getting them into Light Room and then making the photo represent my vision. Of course I rely on memory but truthfully, I am totally aware that there is a new reality being borne. This is my intent, well part of it. So I make photos to serve something different than memories. Any memory cast forward from the photo is really from the photo and not so much the scene or subject where I was when I released the shutter. This is very important to grasp.

The memory of the photo or making the photo is secondary to the actual photo. The experience is not as important as the end result. Don’t get me wrong. I adore, no…I breathe photography. It’s not something I do as a pastime or hobby or as an art form. I do it because I have no choice. A heroine junkie has an easier time detoxing from junk then I ever could from making photos. I don’t define photography, it defines me.  Ok, enuff of that.

The Clarity of Intent

Shhhhh, don’t spread this around. I hear tell and I know for a fact that some people are very serious about this photography thing. Seems crazy right? Well, let’s explore this serious side of this photo making thing. There comes a point in time that is marked as a moment of recognition of the self. This moment for the photographer is an awareness of intent. This is the continuing culmination of the gathering of info, thoughts and feelings. This is our supply feed for our work.

Lets assume that we are out working and something kinda captures out attention. At that moment, our supply feed and the exterior catylist join together and present us with the birth or death of the photo.

We are then faced with the option to make the photo or not.  Many things will happen quickly to come to the conclusion of the unborn photo. This is not yet intent but rather the decision to develop intent or not. Things happen and you may or may not make a photo.

You need to be alert and sensitive to this moment. All that you are is present and needs to be at the ready. What if you decide to make the photo? Well, try this for size. If you are aware that all of you is in the moment and you have accepted the responsibility to yourself and the unborn photo, then the intent of all is showing the way.

The moment and the decisive moment are working together but not the same. Being in the moment or the here and now leads to the release of the shutter. The release of the shutter is the decisive moment.

At that exact moment in your life is the realization that you either satisfied your intent or not. If you feel that you got it, then the rest is a very tuned, aware process of giving birth to the photo. If not, then the decision to move on is necessary. Just remember that not every photo is whats considered a keeper. The thing is, even if the photo is not a keeper, does not mean it fails at intent. Lets say that you were doing a street scene. Here’s the thing about The Moment and Memory. In the moment making a street photo, that satisfies your intent, provides a photo that is more about the making and satisfying yourself. This is the dividing factor of the Moment and INTENT.

 

I need another post to get the point across.

I will post in a day or so…………..be blessed my friends……………………………………shooter out…………………………………..

Photography, Street Photography

July 12th, 2017 … The Photographer’s Toolbox … Juxtaposition

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It’s common knowledge to know that juxtaposition is the most important element in photos. I won’t speak about other art forms, just photography. If you look in the dictionary, you will see a definition stating it’s about contrasting elements.

  1. :  the act or an instance of placing two or more things side by side often to compare or contrast or to create an interesting effect an unusual juxtaposition of colors; also :  the state of being so placed contrasting shapes placed in juxtaposition to each other

In part that is true but in whole, it leaks and desires to be more. Juxtaposition is the single most creative device at our disposal as photographers. In the photo above, we have Jefferson’s face and his riveting eyes and layered behind, people walking in unison. Maybe, just maybe that’s not the only juxtaposition. What if juxtaposition is based on contrast. They say it is. If that’s so, is the contrast of black & white a juxtaposition?

How about the contrast of dark and light and also movement? The shot above has the dark and light and movement but just a faint glimpse of stillness. Then there is the blur and is the fact that there is nothing not blurred an issue. What if we have juxtaposition implied and not stated perfectly in the frame. Is the concept of an image and the reality it comes from, is that also a juxtaposition?

The reason I write about this is, because out there working, we need to understand the devices and trigger mechanisms that we have and then to be aware of them. Oh yeah, then use them. During the course of me teaching workshops, certain questions were brought more than others.  Trigger mechanisms, juxtaposition are just a few. Many say to keep a toolkit. That’s right but the toolkit is not your camera or lens or any gear. That’s your camera. Your toolkit is what you have at the ready in your mind.

Perhaps you won’t want to accept this but it’s right anyway. When you work, your toolkit gets activated and aides you in the making of the photo. This is not the camera etc. That’s your friend. Your toolkit is the knowledge you have acquired and the way you use that. Photography for most of us is a process of inside/outside. What you have inside is what influences you on the outside. Of course, the outside also influences your inside. That’s where your toolkit comes into play.

So this becomes a major juxtaposition. Seeing the inside image and playing it against the outside, is the basis of making photos. Ansel and Minor called this, Pre-visualization. I suppose we should call it that also. The main difference is that with a stand camera, it’s easier to find the image inside you on the outside. Once the camera is planted, it’s a question of framing, light, movement etc. Same as for us with handheld cameras but we move thru life instead of standing in it. Ansel’s juxtapositions were more literal whereas Minor was more cerebral and emotional.

Life is a potpourri of thoughts and feelings. Speaking for myself, I travel thru life and smell the roses even tho most around don’t even see them. Not that I’m special, even tho I read my own writings. I remember being with Harry Bertoia. We were talking about art and photography. I was amazed by his works but what got me was his thoughts and emotions. He told me that he felt that we have a certain amount of energy. We use this energy to do our work. As we get older, the works become that much more special and personal because they see the finality. I asked him why he did his work. He told me…”Because I can”.

I’m not a kid and I don’t get excited about hearing something I have heard a million times. I must tell you. When Harry said that to me, it was like hearing it for the first time. It resonated in the fiber of my being. It still is vibrating. Harry asked me if I understood juxtaposition. Well, cocky ass me said, of course I do but I sure would like to know what it means to you. Harry laff’d with a refrained chuckle. He took me to one of his sculptures for the Sound of Sculpture. Then he said breathe. Harry took his hand and arm and drew it thru the rods. I saw a wave that was magical and I could hear the sounds. I realized immediately that all things are open to each of us to draw our own conclusion.

The beauty of photography is the beauty of life. The toolbox of life fills the toolbox of photography. Our experiences and our thoughts and emotions, installs the tools we need to work and survive. We all she the air and the planet while we are alive on it. What we do with our life is the juxtaposition that we make for ourselves. It may be nice to have a following and make money if that’s your thing. The important concept to realize and use, is that in your toolbox is the makings of your work.

Your toolbox is your tools, your camera is your friend, life is your journey, go make photos and find out there what’s inside you.

Photography, Street Photography, Streetshooter

July 1st, 2017 … An Old Friend Comes Home … Leica X-E

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….. Roger and I are standing at the counter at B&H. I think it’s like 2012 of 2013. The salesman is working with another customer when he sees Roger and says I’ll be right there. Sure enough in 15 seconds, he’s shaking Roger’s hand.  He doesn’t acknowledge me and that’s fine.  Roger looks at me and does that silly thing with his eye. I’m supposed to know what it means but after decades, I still don’t. He tells the guy I’m his partner and all the sudden the salesman wants to  give me his firstborn son.

Roger gives the salesman an order number. The guy goes to the back of the store an in 5 minutes returns with a look of curiouosity on his face. He says, “there seems to be a mixup with the order, they didn’t specify which camera and lens you wanted”. Roger looks in the box,  picking up the Monochrome, the M24o. There around 7 lenses in the box. Roger says to the guy, yes a mistake has been made. Where is the Canon 5D and 24-70 and the 35 1.4? The salesman says, “can we get the Leica that you want first”? Roger immediately says, this box is part of my order.  It all goes with me.

I think the salesman is like 27 yo but he needs to wear a diaper. I think he dropped a load.

He says Yes sir, be right back. On his return Roger says he wants to see the Leica X-E. Well the salesman runs and comes back with a new X-E. he opens the box and loads a batter in it. He hands it to Roger who in turn hands it to me. I start checking it out. They finalize the bill and for some things ordered a few weeks ago. I figure it’s around $80,000.00. A man walks over to Roger and thanks him, shakes his hand and says’ “We want you to have the X-E as a gift to a loyal customer”. Of course Roger is very gracious and thanks all concerned.


We carry the two boxes out to Roger’s Jag and put them in and we head back to Philly. We get to the first rest stop and of course I need to go. So, we pull in and Roger waits in the car as I go in. After a few minutes I come back to the car and get in. Roger starts the car and hands me a box. He says, I want you to have the X-E. I tell him thanks but no thanks. That cmera goes against everything I have going on. I like to set my camera on M mode, auto iso and then choose f/stop and shutter speed. This way I can control my exposure and the camera works with me selecting the ISO.

The Leica X2 and X-E do not do this. They will not allow auto ISO in M mode. I tell him forget it. Then as we are driving along, he’s telling me that I am too comfy in the way I work and with the cameras I work with. He tells me that I don’t think anymore but just respond to the scene kinda like a very open minded auto mode. Inside, I am getting pissed. Not because of what he’s telling me but because it’s all true. He reminds me that in my film daze, I would have a fixed ISO, sorta of maybe but I ain’t sayin’ nuttin about that stuff. I smile and admit he’s right but I don’t want to fix something that’s not broken. He tells me keep the X-E and just enjoy it. I used his X2 many times before so I know the work involved in un-taking-for -granted and adapting-what-I-know-but-don’t-use -properly.

So I used the X-E for almost a year along side other cameras but it doesn’t like to share experiences and knowledge with any other camera. Leica’s are greedy with time and love. They do not like to be with a ny other camera out working. So after a while I stop using the X-E. All my other cameras are ok with each other. So, why rattle cages when it’s not necessary. Roger is in India and Pakistan working on a case and I take some things out to his home and put the X-E on the shelf. Life goes on. Time passes and here we are. Weekend before last Roger and Mary come to Philly from Hong Kong for a visit. He wants me to come out to his home on the main line and check things out. I do the inventory for his acquisitions. This at times is a task but I do it because he’s my friend. So we are in the vault and looking at some nice Leica’s. He picked up a 250FF I think it’s called. Nice stuff. Then I see on shelf where I placed it years ago, the Leica X-E. I smiled.

Roger said once again….”take the X-E and use it. Don’t return it, it belongs to you and it will help you discover your inner self again.I shrug my shoulders because I know the camera pretty well and I know it will do what it wants and not what I want. There is a compromise with it but I need to just let go and open my mind and heart. I tell Roger, ya know something, I will take it and use it. I need to be on a screen camera again. Even the GRII is very fast and intuitive but the X-E makes me slow down and live and feel the moment.

The Leica X-E will not give you Auto ISO  in M Mode. The screen is the pits. It takes a while to turn on and it goes to sleep in a minute. It focuses ok and manual focus is very good. The lens is a Leica Lens and any Leica shooter will be happy. It’s an outstanding lens. You can make an exposure and it’s slow to write to the card.

So why use this age old camera? Ok, first off, it is ELEGANT. Even tho it’s not fast it’s very Elegant. What it does it does well and what it doesn’t do, I don’t need with this camera. There is a cerebral connection that this camera offers and supports and all I need to do is stop having pre-conceptions about what I want it to do. So, I am back to the raw elegant basics and I have a companion with me that is an old friend. I will not take any other camera out with the  X-E. If I did it would be Mom the Ricoh GRII because she’s a screen camera also. You all have a fine weekend and HAPPY JULY 4th to one and all. I’ll be working with Dad the Leica X-E for a while.

Inspired Eye, Philosophy of Street, Photography, Street Photography

May 21st, 2017 …The Hot Sauce of Photography

14 Comments

Hot sauce is a great metaphor for your individual photography. I mention this because it rekindles the emotional state that can over come us about intent and acceptance of our work. You can get all the cameras, lenses, pc’s, software etc but the final residue of emotional stance is in the photos.

Once you make the photos and then put them out there, well hot sauce starts to cook. Why Hot Sauce? Well, here’s my take on it. There are countless variations of Hot Sauce. Some are mild, some hot, some hotter and even some that require a stretch to the definition of the word HOT. Then we have many labels, sizes, colors scent etc. oh, don’t forget some are just hot and too hot to really taste and others have hot but a distinct flavor.

Then there are the users of the sauces and people vary in an undefinable number. So many variables. I suppose after spending time going thru what you like and don’t like, you choose what best suites you.  At that point it’s about taste and it becomes a personal taste and you have to support it regardless of what others feel about your sauces. Some will like your choice of sauces and others may not. You may even feel intimidated from some who claim to be very skilled and knowledgeable about sauces.

Believe me, there are those among us that are professional Hot Sauce appraisers. Some of these people can tell you the vintage of the Sauce. Some are gear oriented and can discuss the bottle, cap, label etc. The thing is that everyone has an opinion and many like to express it to others about others hot sauce. Of course usually they become defensive about their own sauce and maybe that’s why they go on the offensive, because it protects their sauce from open opinion and critique from others.

So, as I said in the start, Hot Sauce is a metaphor for photography. If you just think about the hot sauce metaphor and then apply it to your photography, maybe, just maybe, you can realize that your have your own bottle of sauce and like it or not, not all with like the look or flavor or aroma. You have to accept the fact that a photograph that you make and love is your hot sauce and has a right to be on it’s own.

Your life is a competition. Don’t believe it’s not. You are competing against yourself. No matter how you bet, it’s always against yourself. We will not survive the end of the competition. What does that mean? For me it means, I do my work because I have to. I would lose a reason to breathe without it. If I meet others that are as serious as me, don’t I have the responsibility to accept them and their work? No one should pass judgement upon another’s sauce.

What hurts me if I see someone with potential doing beautiful work, and that person gets criticism and then they sloe=w down or stop, that’s F***ed up stuff.

Do your thing and find your vision and don’t get sidetracked by the the so called negative energy users. You will never make too many photos and you’ll never have too much time to do it.

Enjoy your hot sauce my friends…….I’ll be around……peace

Dreamcatcher, Inspired Eye, Philosophy of Street, Photography

May 2nd, 2017 … On Vision … Seeing With the Fuji X-Pro2

6 Comments

There comes time that I have to take inventory of what and why I am doing what I am doing. It’s not about justifying gear or computers, software or any tangible items. It’s about Intent and the Fulfillment of Intent.  Believe me, it’s a heck of a lot easier to justify buying gear than it is to check your motivators and what drives them and the hunt for satisfaction. I mean, I could say, I need a new lens, save up the ducketts and get the lens. Case closed.  Yeah, I want the New Fujicanikonlei camera. Save up the money, (no ducketts for this camera)….get it and once again, case closed.

What comes to me in this thought train is….what is the common denominator? There is one and that’s what needs to be addressed. Perhaps Olivier was right when he wrote his piece on GAS, Gear Acquisition Syndrome. So, if gear is a deterrent for close evaluation of the work and the process, what is it hiding? What is the TRUTH that we all need but yet fear?  Why do we fear this TRUTH and why do we not address it?

When I was an ADMIN at Amin’s forum, M43.com, many many members would ask about gear in the open threads. It was and still is the most user friendly forum still in use. There would be many opinions raised and facts that sprang forth and all was settled because everyone had that in common, gear. Some knew that I had  a long history in photography and with galleries etc. So, sometimes I would get a message or email requesting a conversation about someones photos. I loved it and always responded quickly.

The point is, not that the questions were asked but…..the fact that they asked me in private and not in the open forum. I found that very interesting. It means that with gear etc, all can chime in and no feelings get hurt. Then when they wanted my opinions about their work, that became very personal and also very touchy. So we would do sessions in private.

I sought the common denominator above and truth of what that is. It’s vision and the judgement of such vision. Everything a photographer does or thinks about is about VISION and the PHOTOGRAPH. We can buy gear, read books, collect images, buy software and take workshops, go to universities and it all comes down to VISION and the IMAGE. Everything, every single thing you think about or manage to do can be used as a deterrent. It also can be used as a means to an end providing you stand in the face of your work, recognize that work, recognize that you are the maker and the one accountable for that work.

Keep in mind that there are many masters to compare to, many friends and many you don’t and never will know. There are photos plastered all over the world. Yours are just some in the mix. There are shooters that work and get paid high bucks, many that work hard and get little bucks. Many shooters are in it just to have something to do, many want the fame and sometimes fortune that may happen. There are those among us that want to use photography as a tool to meet people.

The motivators are to many to fathom. So, what we need to do i stop hiding from our work. Stop running from the fear of acceptance or rejection.

What matters not just in the end, that implies that the journey is over, but what matters is you standing with full accountability in front of the mirror of yourself and your work and say…..

I am the one who saw and made these photos. Good, bad or indifferent, I am proud to be accountable for this work and my life in photography. Regardless of what others think or say or feel, I will not be controlled or sidetracked by them.

I stand naked here with my photos and recognize the fact….hmmmm wait a sec. Don’t stand naked around and have your photos… I think I might understand but spouses and parents and siblings and mostly…. shrinks will never get it.

Be blessed my friends. Remember, what you do and think is in your photos. Find and make them interesting for YOU. The others may or may not get it but you need to.

 

 

Photography, Street Photography

April 28th, 2017 … Philly Street … Fuji X-Pro2

13 Comments

So after a long deliberation I decided to sell off some stuff and get the X-Pro2. I had the X-Pro 1 and an XE2 and other things. Fuji didn’t see fit to make me an X shooter so I did it myself and I answer to no one. The X-Pro2 is now my interchangeable camera. The job was taken from Serendipity the Olympus PenF. I love buying cameras and gear but hate to part with them. This is not GAS, it’s DSG. Oh, DSG = don’t sell gear. Truth be told, it’s important to shake the cage some and rotate cameras regardless of how you feel for them.

I think the Mother Processing Computer at USA Central Headquarters, Weather Control Unit has also made changes. In a few days we went from rain and chilly to sunny and 84F.

See, sunlight is necessary for shooters because, well I think we all have our own reasons so I will let that one go. What I been going thru is validation. I mean I have to accept what and why i am doing with photography. So, like I go out and make photos and I need to validate everything. It’s about commitment and acceptance. Those elements are not active without intent. So I been examining my intent and the after work of it.

I had breakfast with a small group last week, also the reason for no post in a week), and we were discussing things like intent. One guy had an attitude and was riviting a youg woman about her work.

She was getting upset and almost in tears and I jumped in  and tried to rescue her from despair. So, I said…..leave her alone as you are no authority. Right away he lashed out to me. (now I must admit, I am not good at holding back but there was 3 woman at the table so I didn’t curse but invented words that meant those curse words.) He said, Don, I don’t care for much of your work. I think you are wasting time doing photography. I smiled. So I leaned back and said, ****. listen, I will put orders in to the international congress of photographic rules and guidelines. I will state that every shooter and every one that will be a shooter or that will be born and become a shooter, learn your guidelines and rules and esthetics and all, every single one get your stamp of approval for their work. The the whole FUC**** world can be to your satisfaction. Will that satisfy your ego?

After he stood up and left, the crowd clapped and we had a much better time without him. (note, I called him a day later and we talked and he didn’t apologize but kinda backed off. The call was tense and I could feel it. So, to break the tension, I said… I know the issues for you. You haven’t figured out how to check every ones work in a good manner. We both laffed and I expect him to return to breakfast next trip.)  So this hit home base for me and I realized that …. to quote Dylan…”One should never be where one does not belong.” What that means at the moment for me is, that if your working for something other then your own satisfaction, it’s issues that will arise.

What makes a good client shooter is not the gear so much. It’s discovering your client’s wants and needs and then finding a way to satisfy them. So in a way that could mean that you are a formula shooter. You have recipes that work and then decide which one or mix gets the job done. Then you get paid. The reason you got the job was because you understand your client’s needs and wants.

It’s the same but even more intense when you are your own client. So we need to discover motivation, obstacles and intent to start. It sounds simple for real but the underlying reasons and motivators could be very intense. When I was doing many workshops, it was a period of complacent satisfaction. UI was teaching what my students wanted to learn. One day long time ago, I realized that my ability to help my student uncover the obstacles that created blocks is what was really appreciated. This certainly isn’t an easy task. It requires drowning in ones emotions and intent and swimming to the surface and seek solid ground to build upon.

 

….gotta go but will continuw this on the weekend………………………………………………………

 

Black & White, Color, Photography, Street Photography

March 28th, 2017 Raw? … Color? … The Fuji X100F Made Me Do It! … Part 2

4 Comments

JPEG treated as a DNG and pushed the parameters.

Let me start off by saying that I have a few shooters that wrote me and were not thrilled about me writing this stuff. I am being accused of not being a PRO. It’s true, bows my head in shame, I’m not a pro, I’m not a pro. I am a LIFER. I do photography because I will cease to exist without it. I don’t do it for money. No one pays me to do a job or gig. I do what I do because I HAVE TO. I am a photographer because it’s my life’s work and I want to share as much as I can. I do and I do all that without being a PRO. I am a LIFER and maybe coulda shoulda been called an amateur. What an honor that is. You don’t get the, go paint your bathroom. I’ve been called a tourist like it’s an insult. Ya know something, we are all tourist thru life. No one gets a permanent visa, even the pros.

So let it be known that I have a few people in my head. I chat with them about things because I don’t trust anyone else. There’s a discussion going on about film vs digital. This is all tied in and it became obvious to me that I couldn’t do it in 2 parts. So I will do this until I have my day and others also. The reason the film vs digital thing is relevant is because, the negative and print vs the digital image. There are some very important things in this discussion that hardly ever gets mentioned. Perhaps, these few things I bring up are some of the most important to recognize.

sooc Cc ISO 6400

I have a air conditioned, filtered air, water darkroom. It’s as dust proof as I could get it. I haven’t used it in many years and still, not any dust on anything. I loved printing and did many different things. Traditional silver, platinum/palladium, gum, color, just about anything I wanted to do, I could. Many friends and others have used my darkroom and everyone loved the experience and results. So I am kinda anal about things like quality. Then back in the early 90’s it seems that my prints were selling well and many exhibitions all over the world. Well, the point to this part is, does anyone know where the gremlins are in wet printing?  I do, it’s in the DUST SPOTS. There was/is no way to eliminate dust spots. So that would mean, make a run of prints and then start going over them very carefully and spotting them. I did a run or 100 35mm negs and 5 prints of each in 1995. It was for my archive. Now it’s 22 years later and I have to spot the prints. Unreal.  Paper prints spotting is a chore. I have/had an assistant and she could spot prints all day and never miss a single spot. Now she’s a famous photographer and I can’t afford to have her do it.

Another thing that is way different between digital and analog printing is….repeat ability. With digital, you press a button and make as many copies as you want. Not so with analog. What does this have to do with color and raw and jpeg? ok…it means that the camera has presets in it. I am using the Classic Chrome for the time being. For the life of me I can’t get a matching image from raw vs jpeg. If I shoot in Raw & Fine, I get both

The raw will show the preset quickly and then just be the usual flat raw image. The jpeg will come in as a finished image that you can tweak almost as much as raw.

So back in the cave shooter daze of early raw stufts, it was said that you can’t do things with a jpeg that you can with raw. Back then it was true. Now we are in the enlightened ages and well, it’s maybe not the exact same  but then again, raw, can’t do what a jpeg can. It’s not really 6 of one, half dozen of another either.

So the argument that stands about digital vs analog brings forth another issue. That issue is ISO.  The shot above in the Tropicana was at 6400. We all know what that means and it’s not only acceptable but assumed that it is a dependable speed. I know that Ektacrome had goos latitude but no wheres near 6400. The scary thing is, that it could go higher. So where is the advantage of analog when it comes to ISO?

The thing with the Fuji X100f and it’s jpegs is, they perform so well that I am not missing raw. I am not afraid of doing color again and in time, finding my palate.

The first frame is a jpeg out of camera. It’s Chrome. The I decided to work it a little and I did and it was easy and acceptable. The second has some work done and it’s easy to see. The third is a B&W conversion from the OOC jpeg. I’m not going to stand and say that it’s better or worse than anything. I’m just saying that the reason for using raw is dwindling. It’s not just me, but many are finding this to be true. It’s also really about digital vs analog and that issues has many nutshells to turn over but really….the main issue is the camera. Using a Leica M series that’s analog or film has a magical experience that everyone should know and feel. As far as quality, ability of the files or film to do other things, not as big as an issue as it was.

I spent about 40 years or so using an M camera. I used an M4 in Viet Nam and on the streets ever since, awesome camera, named Andre’ back then also. The Fuji X100F gives a similar experience, so similar that many die hard M shooters both film and digital, have an X100 something. So the point is I suppose, that we all need to find our way with things. We need to be able to rely on others and their experiences to help shed light on things.

I probably won’t be making the argument about film vs digital, or b&w vs color or a host of other things that may help others and may feed others but for me, I have clarity and I see the light. Andre’ the Fuji X100f has showed me the way of the new photography.

be blessed my friends. Once again….I am not a PRO, I am a lifer. The photos above and in the other post and most on Flickr are made for technical aspects that I am looking at. I tried to keep the esthetics out till I am at one again with mother light.